A Theatrical Restrospective of Michael Saltzman and Me - Picasso at the Lapin Agile

One of my best friends is leaving town. I've written about Michael Saltzman before, but in two weeks he'll be leaving DC for Los Angeles to pursue a career in film and television, and more importantly to start a new chapter of his life - away from his childhood home and the accumulated baggage that comes from trying to be an adult in the same place you were once a kid. Intellectually, I think that's fantastic, and maybe even necessary, but I'm really torn up about it. We threw a big goodbye party for him the other night and it was a surprisingly emotional experience for me. I don't cry a lot, but I did then. I'm going to miss him.

Mike is a really close friend of mine, way beyond just making theater. But he's also one of my closest artistic collaborators. We've done 13 shows together, more than me and anyone except Zach Fernebok. When I read shows, I think of Michael in them. When I decide I want produce or direct a show, it's because Michael will shine. He can take any character and find a world of honesty, humanity, and nuance inside them - whether pirates or hunchbacks or turtles or a talking stack of books. His versatility is unmatched, his talent is huge. More than anyone he's been my brother in process.

I can't imagine going forward making plays without him.

This is a look back at the 13 productions Michael and I have collaborated on so far - as Actor and Director, Playwright and Director, Producer and Director, Producer and Actor, Actor and Dramaturg, Actors together - every combination. A small tribute to an incredibly valuable partnership that is coming to a hopefully brief and temporary pause.

Each of these productions probably deserves a longer post or series of posts of their own, but in the interest of brevity (and anyone who reads this blog is laughing at that) I'm going to try to focus on my experiences working with Michael on each of these shows.

PICASSO AT THE LAPIN AGILE

There is a moment in Picasso at the Lapin Agile when several characters are reminiscing about what may have been, fantasizing briefly about their secret hopes and dreams that will remain forever unfulfilled. In our production, we turned that section into a song - a soft, breezy, gentle melody supported by Aaron Bliden's (as an unnamed Elvis) guitar, using his music to coax a group of strangers' secrets into the open. In the middle of it all was Michael Saltzman as Albert Einstein, singing with beautiful and upbeat clarity, anchoring the moment.

This was my first show with Michael after knowing each other for about a year or so. I was very excited to have him on board. He brought an intelligence to Einstein that wasn't stuffy or historic. I remember his good natured displeasure with having to rock a mustache for the better part of a month as a young Einstein. I remember his daily Jack Handy quotes at top of rehearsal check ins. I remember the wonder I felt when he, Picasso, and Elvis would stare at the sky and see the universe unfold.

But mostly I remember a song about Albert Einstein and the Kentuckymen, a secret dream put into melody and verse.

#63. 365 Day Challenge - Day 1: Michael Saltzman

Lindsay Denmark gave me this one -

365 day challenge: do something every day for a year. Some ideas: take a photograph of yourself in the same position (looks really cool in the end!), write in a journal, learn a new vocab word, save a dollar each day, etc.

So I've decided to take a moment every day for the next 365 to showcase and celebrate a different person who I think is pretty awesome, right here.

And leading us off, my dear friend and collaborator - Michael Saltzman.

The beard goes "Roar!"

We could start with the fact that Michael is one of the most talented actors and performers I know - with impeccable comedic timing, emotional depth, commitment, facial control, and a diverse depth of character range that allows me to say without reservation that while some parts may at first seem to suit him better, there is not a role out there Michael Saltzman would not excel at playing and make his own.

Or we could start with the fact that Michael is an amazing collaborator - incredibly smart, with tremendous instincts, kind, and the easiest person to work with I've ever met. We've done six shows together in the last calendar year alone - in every combination from actor/director, to director/producer, actor/producer, to sharing a scene onstage. I think he reigns supreme as my most frequent artistic collaborator and it's because every project with him is made fresh, exciting, and better for it.

But starting there is to ignore the most important component of Michael Saltzman - what a tremendously kind and caring man he is. Mikey is a good human being - loyal, considerate, and friendly. He is the kind of person to put the needs of others ahead of his own. And while he carries those qualities in his art, he even moreso does in his friendships. To know Michael Saltzman is to love him, because he engenders those kind of feelings simply by being who he is. It's been a privilege to watch him grow over the last several years - take more responsibility and ownership over habits standing in his way and accomplish a number of very personally challenging tasks - not always gracefully, but always with charm. And that struggle and success is an inspiration.

I'm beyond excited to have someone of his talent as a Flying V company member.

But most importantly, it's been an honor to have him as a friend.

See you tomorrow.